I'm quite a solitary person so I find a lot of comfort in hunting for scenes to photograph. I'm drawn to places at their quietest and the way the artificial light we've placed creates its own image.

I’m not looking for perfect compositions, angles, or polished technique. My photographer self, unlike my writer self, emerged from the need for people to see what I see and how I see it: situations, emotions, people.

Pienso que la melancolía, el enamoramiento, la soledad, el miedo y las obsesiones (cualquiera de ellas), son estados que distorsionan y modifican el tiempo y el espacio de uno mismo; todo se vuelve “un poco raro”, y yo vivo navegando ahí.

Working with architecture, landscape, and still life has become instinctive, almost intuitive, both in process and result. It feels natural and controlled, yet I’m also using the camera as a tool for empathic connection.

Three years of observation (and hundreds of developed photos) offers a poignantly candid record of my family's emerging identities after experiencing the breakdown of a marriage, an escape from high control religion/patriarchy, and the acceptance of queer identity and love.

I learned to find myself in what we avoid looking at—in what hurts or makes us uncomfortable but insists on staying in our depths. I discovered the power that lies in fragility and the possibility of collective connection that emerges from the intimate.

It’s funny—I often say I’m not a very emotional person, but my video work can be incredibly based in emotion over technique and form.

Sometimes we take photos just to take them, but my goal for 2026 is to have more consistency and steadiness in how I present and organize my art.

Every time I take a tool to shape an idea, it’s a moment that makes me feel alive and aware of myself in the present. Also, dreaming of creating opens space for a world without limits, where perfection is precisely that because it is imperfect.

I think a lot about anxiety. I mean, it’s beautiful here but full of things that can kill you, like snakes, jellyfish, and crocodiles.

As an artist, I’m an instrument of a broader consciousness that, under the right conditions, uses my talents to express itself. Not only to share a vision with others, but also to know myself and allow that consciousness to experience itself through that act.

I’ve learned how deeply internalized the hegemonic gaze and the dominant narratives promoted by social media are. It’s difficult to peel away layer after layer and realize that, in a way, your own gaze is still conditioned. It’s a process, and each time I feel I’m getting closer to something that feels consistent with who I am and with my growth.

Making interventions is something like putting a period at the end of things. Just as a period generates meaning for the word that precedes it, this is an exercise in letting go, understanding, and laying out — literally — what was: what I felt about what happened.

The things closest to the heart are the most powerful, and that translates into any work. Curiosity must always be the compass of the creative process. I learned to pause, to be more present, to observe, to move against the vertigo of digital consumption.

I understood that natural processes can’t be forced, that for the flower, or the idea, to bloom, you have to nourish yourself and wait. It’s not always spring, and likewise it’s not always winter. Each cycle has its own nature. 

In these images I see myself as a doll that I control and that performs: a doll I care for but also mistreat. I study the duality between infantilization and objectification, between feeling “not enough” and the urge to please the outside world.

I am trying to be a little kinder to myself in my criticisms of my work. As I primarily shoot film, some of my earliest works reflect the learning curve that comes with film as a medium. In revisiting my images, I am trying to hold more grace for the process, gratitude for all that I have learned, and to be a little gentler in my critiques!

Analog photography teaches me to be present. There’s something magical about doing a session where the outcome doesn’t interfere with the process. It allows both me and the person in front of me to forget about what the result will be and focus on the now.

I don't want to rely too much on rational thinking to find the "right answers" in photography. Instead, I need to perceive colors and sunlight with my own eyes, especially through film, which feels far more sensitive to all of this than digital.

The film side forces me to slow down my workflow approach and to take more meaningful shots. The video side is something I've been leaning into a lot. I wanted to show off how cinematic my hometown is. I love to showcase the stillness and beauty in Newcastle.

It was a year of sharing life in a more intimate, slower, and quieter way, with mostly close and meaningful interactions. Lately, my photographs have been connected to that experience, to what has been close to me and what has surrounded me during this time.

I believe the most valuable thing I’ve learned during this process is that photography goes far beyond the moment of pressing the shutter. We make photographs with what we know, what we feel, and what we aim to express. Behind every image there is a series of meanings and stories.

I love the unknown of shooting on film. My light meter broke in remote Mongolia, so I had to guess my way through all the exposures. It made my favourite photos even more special, knowing I managed to capture those moments by sheer luck.

This project was not born when I started photographing him, but when, in 2023, crying while we were alone in the car, I told him: “Dad, I'm not happy”. He replied, “Then what are you doing here? Never mind this, leave everything and pursue what makes you happy; that's the only thing that matters”.

I’m learning that there’s no perfect timing. Sometimes you just have to do it, put it out there, and not wait for the “exact” moment, because there is no such thing. You grow and learn when your mind is free from the obstacles we invent for ourselves. You just have to keep doing it.